Dudu Quintanilha & Leonard Ramm: Sun of Tomorrow
Sun of Tomorrow is a performance of gestures by Dudu Quintanilha together with Leonard Ramm. A duet improvisation that explores, in a processual way, how their bodies and psyches are traversed by their own presence and proximity, by waiting, and by an imagination — or invention — of hope and its collapse. Movements concentrated in the performers’ faces unfold beyond narrative control and the representation of gesture or emotion. Captured in real time by a camera, their faces are transmitted live as moving portraits, mediating their image as both mirror and distortion. Understood as a proposition, the work becomes a relational object — a living mask with the potential to condense the affective.
Dudu Quintanilha (*1987) proposes experimental practices, tracing the intersections of lived experience, imagination and contemporary art. Working primarily with video installation—where the videos often document performance-based processes—his practice also unfolds across photography, performance and text. Many of his projects grow through collaboration with participants, conceptual exploration and biographical reflection.
Gabriela Valdespino: One by One Again to Decay
What else might a ship become when disassembled, reimagined, or sonically re-inscribed through collective listening?
With One by One Again to Decay, Gabriela Valdespino uses sound as a means to navigate the life of a ship. From the spectral presence of a ghost ship to the absurdity of a steamer conceived as an opera house atop a hill, ships become sites where history and fiction entangle. Their afterlives, in ruins, wreckage, or fragments repurposed into new forms, gesture toward the instability of historical meaning and open the horizon of possible trajectories.
Following Kodwo Eshun’s theory of sonic fiction, which serves here as a tool for shaping collective identities and imagining alternative future scenarios, Gabriela Valdespino links the narrative of the ship with the history of the clave—a percussive instrument believed to have evolved from a repurposed wooden peg in Caribbean shipyards—in her lecture and sound performance. She superimposes fragments of myths, field recordings, voices, and samples, blurring the lines between reality, fiction, and theory in order to tell new narratives and conceive alternative forms of building and assembling.
as part of Recurrencies—a series of programs that takes place regularly between our exhibitions and opens up space for temporary artistic formats.
Funding
Der Senator für Kultur der Freien Hansestadt Bremen
Beate+Hartmut Schaefers Stiftung